Tag Archives: jazz guitar for beginners

5 Jazz Guitar Tips That Will Save You Years Of Practice

In this video, I will go over 5 things that were game-changing for how I learned Jazz so that you can use those as well.

When you are in the process of learning something, like playing Jazz, then there is a part that is just hard work for a long time, and then there are moments that really change the way you think about something and help you progress a lot faster by practicing in the right way.

#1 Think Ahead

When I started playing Jazz, I spent months practicing before I finally could play a solo on 2 Jazz Standards. I chose to start with Stella By Starlight and There Is No Greater Love, and both of those are pretty horrible choices for a beginner with way too many chords and complicated progressions, but luckily I was pretty stubborn so I just kept going until I could make my way through the song.

This was years before mobile phones when Grunge was still hip, so there are no videos, you will have to settle for a dramatic re-enactment

At this point in time, I was barely able to improvise over the chords, and I had to work hard to find something to play on each of the chords which is what I focused on, and that had a very bad effect on how the solos sounded.

Phrases didn’t really connect or have a longer story to it.

This actually remained a problem for quite a long time. I did not find a way to fix it until more than a year later when I was taught to play changes so that you were thinking of where you need to go, what target note to play towards. This way of thinking made the solos have a much more natural flow and made the melodies a lot stronger.

And that is something that is very important with most things in music: Think Ahead, make sure you are ahead of what you are playing. So play towards target notes, see the voice-leading taking you to the next chord, or learn to read ahead if you are sight-reading.

It will make your life easier and make you sound better, especially in terms of soloing if you combine it with the next tip.

I have a video on how I apply this to playing chord changes that you can check out here:

#2 Arpeggios and Scales – The Right Way

While I was studying in Copenhagen and playing Jazz Standards in the streets, I also had the luck to go to a week-long Barry Harris workshop in The Hague, and one of the things that I took away from that is also a cornerstone in how I teach and one thing that is really overlooked in learning Jazz on the guitar.

Usually, when we think about arpeggios, these position boxes show all the notes of a m7 arpeggio in a given position. This way of learning them is good for being able to see the notes on the fretboard, but it almost completely fails at helping you learn how to incorporate them into your playing, and there is a much better way to practice them.

The exercise that Barry told me to practice, was to play all the arpeggios in the scale, not as separate boxes that don’t naturally connect to the rest of what you use when you play.

Most of the time, the chords will change, but the scale stays the same and when you make lines, you are not only using arpeggios all the time, so having the arpeggio placed in the context of the scale will make a lot more sense.

Working on this exercise also gives you something that is much closer to the way arpeggios are used typically used in Bop-inspired lines, which is not often using several octaves of one arpeggio, but mostly just one-octave melodies in the middle of a line.

My most viewed video on the channel digs into this and how you use it to make some great bebop-inspired lines, and last tip in this video is probably the advice that I give the most as an answer online.

You can check out the video on practicing arpeggios and making lines here:

#3 Keep it Simple

— Play a solo then stop and start talking?

It is actually pretty simple, and you don’t want to make it too complicated. In a way, I was lucky that I could read sheet music because of my classical lessons, because it helped me figure out some things from reading transcriptions that I would have had a much harder time learning by ear.

One of the things that really fascinated me when I first started to listen to Charlie Parker was how the solo would sound different from moment to moment. This was very different from what I was used to with most of the blues and rock solos that I was listening to where most of the time everything stayed in one scale across the chords not really playing melodies that were following the changes that closely.

That sounds complicated, but if you check out jazz solos then most of the time the way the phrases follow the changes is actually pretty simple. It is just about hitting the chord tones on the important notes of the melody and usually also somehow connected to the heavy beats, give or take a suspension or rhythmic variation.

In the beginning, playing simple and clear solos will help you really get that connection. And that may seem different from how you think about “complicated Jazz” with extensions, alterations, and upper-structure triads, but you want to hit those 3rds and 5ths and get that to make sense so that you later can choose to be vague and clear and use that in your solos.

So keep it simple and make sure you can hear the chords in your solo.

#4 Jazz Chords Done The Wrong Way

The people I checked out before getting into Jazz probably offered me a shortcut when it came to this. When you first start out learning chords on the guitar then everything is based on grips which is a practical and visual way to learn chords, but when it comes to playing Jazz harmony then that approach is not that useful. In Jazz, connecting the chords across the bar line with both melody and voice-leading is much more important. And you will realize that the chord voicings are something that you can change and mess around with. Something you can use creatively and get to fit together, turning them into beautiful music. This will open up your comping and your fretboard to a sea of possibilities and not just a few grips.

Before I got into Jazz I was checking out a lot of Hendrix and Stevie Ray Vaughan and both of these have more of an open way to work with chords which include improvising with them and not playing the same voicings all the time, and in that respect, I already thought of chords as something you could change and move around which in hindsight made the transition to Jazz comping a lot easier since that works exactly the same.

The last tip is probably the advice I give the most as an answer online and also the most effective way to learn Jazz.

What Was A Shortcut That Helped You?

Maybe you have another tip that really changed things for your playing or you don’t agree with any of this? then let me know about that in the comments

#5 The Thing That Ties It All Together

At the beginning of the video, I talked about how I spent a long time learning two songs that were actually a bit too difficult and that in hindsight being stubborn and powering through to get those two songs down, even if it sounded pretty badly was very useful. The same can certainly be said for building a repertoire while playing in the streets of Copenhagen. One thing that I see very often, especially now that there is so more jazz educational material available, is that it stays too superficial, you practice some licks and exercises but it does not become a part of your playing and maybe you don’t even really focus on learning songs. That is a huge mistake.

Think of it like this:

if you only learn a few new things but make sure to be able to use them on all the songs you know then you will sound better and play great solos on all those songs, which is pretty much everything you can play.

If you learn something that you can’t put to use on any songs then what are you really spending time on?

For me, learning those two songs and later spending a lot of time playing songs in the streets of Copenhagen was a huge help in getting to use everything and in that way really getting better, so that first song is worth really pushing through. Of course, if you want some help in getting through that then you can check out the Jazz Guitar Roadmap which is about exactly that process of really getting a song down.

Check out the Jazz Guitar Roadmap

Bonus Tip: A Bit Of Healthy Realism

With all the exercises that you are told to do and ways of learning very specific things then it can mean that you get a little detached from the actual music.

Just like playing songs is the way to learn to use what you practice then often it is a very good idea to also find the things to start practicing in the music that already exists.

And of course, the way you do that is by transcribing solos, that way you get insight into what arpeggios go where, how they sound and how to use them.

This also helps you not going down strange rabbit holes like using all the diatonic arpeggio on each chord and other strange time-consuming unrealistic goals that I have seen people waste time on.

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The 5 Reasons You Are Not Getting Better At Jazz Guitar

A part of playing what is fun about Jazz is that you keep getting better at it and enjoy the new things you learn.

But sometimes you feel like you are not getting anywhere and it gets harder and harder to keep going and stay motivated and that is what I want to talk about using my Jazz guitar practice habits and horror stories as examples.

#1 Don’t Practice

If you are not practicing you are not going to get better fast. For me, it is easier to practice if I have a steady time to do so, and usually, that is in the morning after maybe bringing the kids to school and shopping. Then I can sit down with my guitar and a cup of coffee to get started with some technique. I try to have some things that I do every day and then a lot of things that I can change and vary to keep my mind, my ears, and fingers awake.

You might be in a period where it is difficult to find a regular time or to practice or maybe just time at all, and if it is difficult to be motivated to practice then make sure to focus on the fun things first so that you are playing. Once you build habits then you can become more focused on covering everything you want to practice while also allowing you to have fun.

Lately, I realized that I don’t spend too much time on chords in my practice, probably that was not a problem until COVID because I was anyway comping for several hours every week on different gigs, but now I started to add some chords in there because it felt like that was slipping away.

My point with that is that a practice routine should not be static you want to adjust it according to how things are going, something that I will talk more about later in this video.

#2 Not Getting Far Enough

Maybe, like me, you have the discipline to go through some sort of regular schedule and you are used to practicing, but then you can get stuck by falling into another trap.

If everything you practice is only played as an exercise and not really put to use in the music you play, or maybe you don’t even practice playing music regularly, you may be wasting quite a lot of time.

If you think about it it is pretty obvious, just learning to play up and down the pentatonic scale doesn’t make you the next Stevie Ray Vaughan. You need to learn how to make it sound good as well, and that part does not come by itself. It is a part of what you need to practice.

Improvising over an altered dominant is not that different. You need to do more than just practice the melodic minor scale.

In my practice this is mostly about doing two things: 1 – writing lines with what I practice or what I want to add to my vocabulary and 2 – Making sure I can use to use this while soloing on a song. I think you need both of these steps, and you should always look at whether you can use the material you practice in solos, otherwise, why are you practicing it?

If you want some general ideas for beginning Jazz, then check out this post:

How To Learn Jazz Guitar – Suggestions To Begin Studying

Another aspect of getting things far enough is that you also need to practice making music and not just sounding like an exercise, so that you can sometimes play with more space, vocal-like melodies, and not always just spell out all the changes and try to play the “correct” arpeggio.

#3 Always Playing The Same Things

A thing that I have found myself doing is getting stuck with the same things, these can be the same exercises that you don’t improve on or it can be always playing the same song, not challenging yourself to expand your vocabulary, places where you can use that vocabulary. It can be in terms of tempo but it can also be in terms of songs, keys, chord progressions.

This is something I try to catch whenever I can, and it can be tricky to figure out if you need to go to another song or break up the technique schedule that you are really used to, but doing so every now and again is very healthy for your playing and always doing the same things can be very inefficient even though they are nicely automatic and doesn’t require much effort.

So if you are only practicing one song, like a blues, or like me playing Out Of Nowhere way too often then it is time to change things up and make sure that your musical diet is healthy and varied.

#4 Don’t Know Enough Songs

The easiest way to learn to improvise freely on harmony is to learn a lot of songs.

I have talked about this quite often, and it ties together all the things I already talked about in this video. Studying songs is where you put it all to use, you learn how to play over the important chord progressions, harmonizing melodies, using chord voicings with the right extensions, and also tying it all together in a story, when to play a vocal melody, a bebop line or something more abstract and modern.

Learning songs and playing songs is where everything you practice comes together and where your artistic and personal take on the music is created, don’t rob yourself of that.

For me, it is about sitting down and playing a song from start to finish and really get the whole thing to make sense as if I am playing in a band. I sometimes find it difficult to practice like that but it is also the place where you are really in the zone and new things can happen.

If you are looking for songs to explore I will link to a list of 50 Jazz Standards that are really useful to have in your repertoire, and Misty is not on that list.

#5 Information Overload

When I was starting out trying to learn Jazz, I didn’t have internet and the library only had David Baker books on Jazz that I didn’t like and also were not useful for me. Most of the music came from borrowing the few LP’s and CDs available at the library. At the same time, compared to my teachers I actually had a ton of information available, they were wearing out singles and using the radio.

I also remember seeing David Liebman’s “A chromatic approach to jazz harmony” and buying that because Pat Metheny recommended it, even though at that time I couldn’t even play a solo on Autumn Leaves, and that is also a good description of how useful that was at that moment.

Today you have everything a few google searches away and can pretty much find information about anything about Jazz at all levels, but we end up with another problem, overload. It is impossible to choose and you never know who to trust and what fits together. Even on my channel the amount of videos is so immense that it is hard to navigate.

The important thing is probably to try to stick with songs as smaller end goals because they are practical and will help you gradually develop and use your skills. I have a post where I talk about this on my website, I will link to it in the video description.

That is also one of the reasons I decided to create my course the Jazz Guitar Roadmap because in that type of content you can go step-by-step for a longer period of time something that would never work on YouTube where nobody watches part 2 of anything, and certainly not part 43 of 67 videos.

The Jazz Standards You Want To Know

It is important that you develop your skills for soloing over chord changes and if you check out this video then you can learn to nail the changes and have an easier time learning songs, which will really boost the development of your skills as a Jazz guitarist, or musician, would that be Jazz guitarist AND musician? I don’t know…

50 Jazz Standards – The Songs You Need To Know

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How To Go From Scales to Great Jazz Phrases

You are practicing scales so that you know what to play in your solos, but, like me, I am sure that you are quickly realizing that running up and down the scale is a pretty boring solo. Scales is just not music. You need to learn how to take the raw material of the scale and turn that into musical phrases that you can actually use in a solo.

Scales Are Boring

This is about how you think about what you are playing, and realizing that Jazz is a language that you need to learn to speak on your instrument, but, as you will see, once you get used to that thought then that can also help practice in a much more efficient way and get to enjoy your own playing more.

You already know your scales and hopefully, you also checked out some of the essential exercises like the diatonic triads and 7th chord arpeggios in there since those are very useful for not sounding like you are just running up and down a row of notes.

 

If you don’t know those exercises then check out this lesson on practicing scales.

Jazz Beginner Mistakes – How To Learn Scales

You want to avoid playing solos that just sound like you are running up and down the scale without any direction, completely at random.

Which doesn’t really sound like something that works in a solo.

How To Play A Jazz Phrase on a Cmaj7

So how do you solve this? You need to find a way to construct lines that are not just using random scale notes and that also make sense as an interesting melody and sounds like Jazz.

To keep it simple, let’s just say that you are improvising over a Cmaj7 chord and then I will show you how to start making lines that actually work.

Instead of playing random notes then you want to play something that connects with that chord. A Cmaj7 is C E G B (chord with diagram, right side) and if we play those notes then that will work really well with the chord.

With this you can already start to make something that sounds like music:

The difference is that it is not just running up and down the arpeggio, but instead, you try to hear a melody with the notes, adding some rhythm and hearing where it ends. But it is still pretty limited, so let’s add in some more notes in there, which is easy because there are 3 more notes in the scale.

Scale Notes and Phrases

If you make a line with the arpeggio notes and then start to add in the scale notes around it then you can create something like this:

As you can see the most of the notes are still the chord tones, and the way they are placed in the melody then they still help us connect to, or hear the chord, in fact, you can remove the scale notes and still have a great sounding line:

Sounding Like Jazz – Rhythms and Accents

One of the most important parts of getting a phrase to sound like Jazz is to get some syncopated rhythm in there. You can do this by either using syncopated rhythms like this:

Or by accenting notes so that the accents give you a syncopated rhythm

You get those accented notes by having a high note on an off-beat. In the beginning, you probably need to practice making and hearing melodies like that, but then it gradually becomes a natural part of how you hear melodies and how you improvise.

Adding Some Beautiful Wrong Notes

Another thing that you hear in something like a Wes Montgomery, George Benson or a Charlie Parker solo is chromaticism, which essentially means using wrong notes to create some tension that resolves to a right note. If you just play the “right” notes then it is as if you are missing something, and if you just play the chromatic notes then that sounds like you are just playing something wrong.

It has to make sense in the melody and resolve in the right way.

In this example, you have two types of chromatic phrases. Passing notes that resolve to chord tones, like this:

You can create chromatic phrases that resolve to a chord tone. Here it is connecting 7th to the 5th, G in half-steps. You can also have chromatic phrases that move around the resolution like this:

The enclosures you have here are targeting chord tones, first the 5th and then the 3rd: l (isolate enclosure of G and E)

And of course you want to end up with phrases that combine the two like this:

How You Practice Making Phrases

What you have seen until now are different options for building blocks, so small fragments that you use to build phrases with like the arpeggio, the scale, and two types of chromatic phrases. If you want to work on playing better lines then you should work on putting together phrases, but you can also learn a lot from studying how your favorite soloist plays. The way you do this is by analyzing the solo and try to figure out what building blocks are used and how the different blocks are put together.

Transcribing and analyzing phrases is really powerful because it comes from music that inspires us, and you start with what you hear.

This is not the only option, you can also work with making variations of building blocks by moving them around the scale, onto other chords or using rules not unlike what you find Barry Harris doing in his workshops.

In this video, I was only talking about using the arpeggio of a single chord, but there are many other options that you can work on. If you want to explore how you can start using different arpeggios for a chord and also how you make bebop inspired lines with them then check out this lesson on: “the most important scale exercise in Jazz”

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Jazz Beginner Mistakes – How To Learn Scales

When I started playing Jazz then I came from improvising mostly with the pentatonic scale, playing phrases, and licks in the scale without really worrying about what I was playing and especially what notes.

Once I got interested in Jazz, in fact, mostly in Charlie Parker solos, then I realized that I needed to use 7 note scales, and that was a lot more tricky to get to sound right and especially to get to sound like great jazz lines

Just practicing the scale, up and down doesn’t teach you how to do that and there is a much better way to practice the scales, one that helps you learn to play Jazz faster and sound in the right way.

Which Scales Do You Need?

First, you need to figure out which scales you need.

Playing Jazz is associated with scales, and often also with a lot of scales with a lot of fancy names. But when you start then you are better off not drowning yourself in different scales, simply because it is more work to learn to use a scale than to learn to play it. Just start with the major scale, and if you are new to major scales then start in a single position

You can add to it later and knowing the scale well in one position will help you learn the others as well. Starting with 5 or 7 positions in one go and trying to be able to play and improvise in them all is not as efficient in the beginning, and you might get overwhelmed and lose the overview, and getting an overview is why you practice scales in the first place.

If you practice in the way that I outline later in this video, then learning other scales and being able to use them will become a lot easier because you can leverage what you already know.

CAGED, 3NPS, Berklee doesn’t matter

A discussion that sometimes appears at this point is what type of scale system should I use, and there are quite a few, CAGED, 3NPS, and Berklee being the big 3. This can sometimes lead to heated discussions, but In the end, it doesn’t matter too much, do what feels more natural to you, you can even change along the way.

Basic Exercises

How do you start? The first thing is to practice the scale, for example, this position of C major:

Try to play it slowly, evenly with alternate picking. Connect the notes, because otherwise, you are going to sound choppy when you have to play faster

Be aware of the notes you play, so first the root

You can even practice the scale while saying the notes you are playing.

The first technical exercise that you should do in the scale beyond playing it is to play it in 3rds.

Scale in 3rds

The reason for this is that when you play Jazz then you are using the notes of the chord, and chords are built in 3rds so you are preparing yourself for learning the diatonic arpeggios, triads, and 7th chords that are found in the scale.

What Do You Need To Play Jazz

What do you need to play jazz phrases? If you look at this fairly typical jazz lick

Jazz Lick – chromaticism arpeggio

Then you can see that it uses a 7th chord arpeggio, Cmaj7, and some chromaticism mixed in with scale notes.

Beyond practicing the scale itself then the things you want to practice are the things you need in your solo. Arpeggios seem like a very useful candidate, to begin with.

The Arpeggios Are In The Scales

When I was first taught arpeggios the I was told to practice them as separate positions. In that way, learn them as independent things, not connecting them to scales or anything else.

A few years later, when I was in a Barry Harris masterclass in the Hague, I learned from Barry Harris that I should know how to play the diatonic arpeggios of the scales, and he talked about how to use them.

If you practice the arpeggios like that you get something like this:

Diatonic Arpeggios

If you know how to play this exercise then you have material that you can use on a lot of chords that you come across in C major, and you see the arpeggios together with the other notes that you have available when you solo. It is already connected to the rest of the material you can use.

II V I lick with diatonic arpeggios

For me, this was really a gamechanger, when you connect the arpeggio to the scale like this it is much easier to play the arpeggio with an extra scale note and also to see how the notes move from one chord to the next, which makes it a lot easier to make strong lines that outline the chords. But there is a lot more you can get out of it, as you will see later in the video. (highlight voice-leading in a lick, overlay lick while talking)

Another thing that is worth noting is that most of the time when you come across arpeggios in Jazz solos, then they are one-octave arpeggios in the middle of a line or even with scale notes in between, so practicing them like this is much more efficient and closer to how you use them in Jazz. As you can see in this transcription (Parker solo transcription?)

How To Practice and Use Them

You can practice the arpeggios from each note in the scale like this (example 4) and again you want to play them cleanly, equal in volume, not too fast, and connecting the notes as much as possible. Another way of practicing them that is useful is to practice up one and down the next

This is actually a bit easier because you don’t have the large interval skip from one arpeggio to the next. In general, you want to practice different things to build flexibility and work towards being free when you improvise, so coming up with variations is something that will help you with that.

If you start thinking of the scales and the exercises like this, then you want to find out what you want to use in a solo and then practice that in your scales so that you learn all the useful variations building a vocabulary you can use in solos.

From Arpeggios to Lines

There are many ways that you can use these arpeggios, to get started it makes sense to just play the arpeggios on a chord progression

Example 7 (no backing)

To turn this into something you can use in a solo then you can use the notes around the arpeggios and add some nice rhythms as well.

For the Dm7, this is the arpeggio:

And you can turn that into a more interesting line by adding the E in between the first two notes:

In this way you can start to work on making lines like this:

Here I am using the Dm7 phrase, a triplet on the G7, and also adding an A to the Cmaj7 arpeggio.

The Mighty Triad

Another obvious one is to also check out the diatonic triads which as you will see we can easily connect to the chords and also are great for creating super-strong lines.

Going over the triads in the scale gives you an exercise like this:

And finding triads to use with a chord is very easy:

If you look at a Dm7 then that is D F A C

Here we already have two triads: Dm: D F A and F major F A C.

For the G7: G B D F – G B D and B diminished and Cmaj7: C major and Em

And using these to make lines could sound like this:

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What Really Makes It Sound Like Jazz?

You already know that just playing the pentatonic scale doesn’t really make it sound like a great blues lick. There are other important things like bends and vibrato that make it sound great.

Of course, this is true for Jazz as well: It is not enough to just run up and down the arpeggio to make it sound like a great Jazz line. You want to play things that sound like this:

In this lesson, I am going to show you some of the techniques you can use to add some jazz phrasing or flavor to your playing, and you don’t need a million scales and arpeggios for this, and this is more important and much more effective

It is Not a Rule Book, It Is A Sound

I am going to use Blues as a reference in this video because most people already have some experience with that and a clear idea about when something sounds like blues or not.

I don’t know if you ever thought about it, but you probably did not learn to play or recognize Blues by reading a list of rules, at least I certainly did not read a Blues rule book.

You just heard it so much that you can recognize the general sound. I think it is important to keep that in mind, and in this video, I am going to give you some examples and then in those examples point out what gives it a Jazz sound.

That way you learn to recognize it and also have a way of using it in your own playing.

Sliding Into It

Here I am making the line work by sliding into the B and then continuing down an Am7(9) arpeggio. This way of changing how some of the notes sound really makes the line a lot more interesting.

And you can use this with any type of material, it also sounds right if you are just sliding into notes in the pentatonic scale:

One of the things you really want to avoid is that all the notes sound the same, this is just one trick, let’s look at some more that you can add to your playing.

 

Fast and Easy Embellishment

One problem that you can run into as a beginner jazz guitarist is that you play long winding 8th note lines, and they have all the right notes and arpeggios, but it still doesn’t really work.

But one of the things that can make a line like this a lot more interesting is to add some embellishments like this:

And you can practice playing these small legato embellishments and insert them into your playing. Some common ones to know would be these:

Notice how they are all small clusters of fast notes targeting a chord tone in Am

You already heard how the first two sound. The last one could be put to use on an Am7 like this:

Here I am targeting the 5th of the chord using a variation of the last embellishment in example 7

Changing The Rhythm

Of course, there are many other ways you can change the rhythm besides embellishments, but one that I think deserves a mention here is 8th note triplets, and especially playing arpeggios as 8th note triplets. This is pure Bebop or instant Bebop, and a great way to make an 8th note line more varied.

Here I am using it on the Am7 arpeggio. You can also use it on descending arpeggios as I did in the beginning of the video or like this:

I have a few other videos where I talk about practicing arpeggios and I am not going to go over it in too much detail here, you can check those out through the link in the description. Let’s look at maybe the most important part of how you get a line to sound like Jazz: Dynamics

The Notes Are Not The Same

Not every note is the same, and they should also not be played the same. I have mentioned before how Bop lines are all about the rhythms that are hidden in the accents and also how that is a big part of why Jazz is rarely played with overdrive or distortion because we want to have the ability to make the notes have very different dynamics.

What this is really about is making lines where you can add accents in the right places. Something where we, frustratingly enough, don’t have a rule book.

But!

You should work on adding accents to your lines and also work on writing lines that allow for interesting accents.

A lick that doesn’t really work would be this:

But if you try to create melodies where the high notes are on off beats then you can end up with something a lot more interesting like this:

Here the melody has a high note on 3& in the first bar and on 2& in the second bar that I can give an accent, and this makes it a lot less heavy and much more groovy.

Starting to hear the phrases as these flowing notes with some notes popping out is a huge part of Jazz phrasing and if you start to get that into your system then you can make almost anything sound like Jazz.

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Jazz Chords – From Easy to Advanced in 5 Solid Exercises

It is easy to get lost in difficult Jazz chords that you don’t have control over and can’t use when you are playing, and that means that you are not really getting anything out of them, so in this video, I am going to show you a set of easy jazz chords and then show you how much you can do with it and how you can really play pieces with them.

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https://www.patreon.com/posts/jazz-chords-from-45476744

Content:

00:00 Intro – Easy Jazz Chords To Expand On

00:28 #1 Shell-Voicings – What Does The Chords Sound Like

02:11 #2 Add Some Rhythm And Make It Interesting

02:41 #3 More Notes = More Color

04:39 #4 Less Notes = Even More Color (And More Notes)

05:25 #5 Become Free With The Chords

05:57 Get More Out Of Your Shell Voicings

06:03 Like the video? Check out my Patreon page!

 

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5 Things Every Beginning Jazz Guitarist Should Know

There are so many people who seem to be focusing on the wrong things and slow down their progress when they want to learn Jazz. This video is going to give you some suggestions about how to think about what you are learning so that as a Jazz Guitar Beginner, You actually work towards learning Jazz and don’t drive yourself crazy practicing exotic scales.

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https://www.patreon.com/posts/5-things-every-40490952

Content:

00:00 Intro

00:28 It is not only about Scales

01:35 Play Music Not Exercises

03:07 A Bebop Job Interview

03:37 Learn Songs

04:17 Listen to Jazz

05:20 Vocabulary – If you ever want to sound like Jazz

06:22 Jazz Chords – A Great Place To Start

06:30 Like the video? Check out my Patreon Page

 

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This Is A Better Strategy For Jazz Guitar

Most jazz guitar lessons will tell you that you need to know your scales all over the neck, you need to know all the arpeggios and all the chords, understand all the theory. But what nobody seems to talk about is what order you should learn this in, and does learning jazz guitar mean that you first have to learn 3-5 scales in 7 positions with 7 diatonic arpeggios each?

Content:

0:00 Intro – Can you play Jazz without 2 years of scale practice?

0:34 How Most of us get into Jazz (me included)

1:16 Wes Montgomery Practicing Scales

1:36 Jazz is not a skill

1:56 Where does it go Wrong?

3:32 What Are You missing?

4:14 How To Fix It

4:46 A more simple approach

5:32 How It Works on a Song

5:58 Quick Analysis of the Chord Progression

7:07 The Scales we need

8:02 Making it a short compact amount of material to practice in 5-10 minutes,

8:45 Like the video? Check out my Patreon page.

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Get the PDF!

The PDF for this lesson is available through Patreon in the Patreon FB group. By joining the Patreon Community you are in the company of 200 others supporting and helping shape the content on my YouTube channel.

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This Is How To Play The Chords When You Want To Learn The Song

We have a huge advantage as guitarists: We can play the chords of a song and hear how the harmony sounds. When you play a jazz standard that you want to learn then you want to keep Jazz Chords easy. There is no reason to make it harder than it is so building a strong foundation and really checking out how the basic harmony in moves and sounds is very important.

In this video, I am going to show you how to play voicings like that, and also give you some suggestions for how you can take this to the next level by adding a basic chord melody, extensions and colors, or playing walking bass and chords.

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Content:

0:00 Intro

0:41 What is a Shell-Voicing

1:58 How to Practice the Jazz Chords

3:02 Shell-Voicings on a Jazz Standard

4:59 Adding More Notes and Extensions

6:06 Chord Melody with Shell-voicings

7:25 Walking Bass and chords

8:18 Like the video?

Get Your Chord Skills Up a Few Levels

5 Things That Will Boost Your Jazz Guitar Playing

When I look back at when I learned how to play jazz guitar then there are some things that I did which in hindsight clearly helped me get further and took me up sometimes several levels.

Most of these habits I didn’t think about in a strategic way, but I think that if you are trying to learn Jazz then these 5 tips are important for you to consider and will help you learn more and learn faster, which in the end also often means having more fun doing so.

Check out how to Practice Jazz Guitar

This is a Good 10-minute Practice Routine

30 min Jazz Practice Routine How To Find The Perfect Balance

Content

0:00 Intro

0:34 #1 Be Consistent

2:32 #2 Focus on Playing Music 

2:50 Achievable goals and using what you practice

3:14 Difference between learning an Arpeggio and Using it in music

4:08 #3 Play with Others

4:23 Responsibility and using what you practice

5:34 It is also about motivation

6:29 #4 Learn by Ear

6:59 What You Learn

7:29 A song I learned from Vic Juris

7:59 How to learn a song by ear

8:27 Learn Jazz Solos by Ear – What You Learn

9:03 A great alternative to start with

9:35 #5 Be Creative and Decide How It Should Sound

9:54 How do YOU want to sound?

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If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

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